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Song and Stage, Gender and Nation: the Emergence of Kanto in Late Ottoman Istanbul

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Song and Stage, Gender and Nation: the Emergence of Kanto in Late Ottoman Istanbul SONG AND STAGE, GENDER AND NATION: THE EMERGENCE OF KANTO IN LATE OTTOMAN ISTANBUL ERIK BLACKTHORNE-O’BARR Submitted to the Institute of Social Sciences in partial fulfillment of the requirements for the degree of Master of Arts Sabancı University May 2018 © Erik Blackthorne-O’Barr 2018 All Rights Reserved ABSTRACT SONG AND STAGE, GENDER AND NATION: THE EMERGENCE OF KANTO IN LATE OTTOMAN ISTANBUL Erik Blackthorne-O’Barr M.A. Thesis, May 2018 Thesis Supervisor: Prof. Leyla Neyzi Keywords: Ottoman, Gender, Satire, Dance, Music, Theatre, Istanbul This thesis aims to explore the formative period of “kanto,” a genre of Turkish- language musical theatre and dance which arose in Istanbul during the early 1880s, and was characterized by short, humorous songs of satirical or erotic nature. In particular, this thesis examines kanto theatre as emblematic of the social, political and sexual discourses prevalent during the reign of Sultan Abdülhamid II (r. 1876-1909). In contrast to earlier studies, kanto is understood here not simply as a synthetic genre of performance adapting Western cabaret to Ottoman tastes. Instead, this thesis aims to show that kanto was, in its original form, the product of an urban youth subculture which directly reflected the cosmopolitan and multiethnic setting from which it arose. Furthermore, this thesis places kanto within the rich Ottoman tradition of satirical theatre, albeit influenced by continuing processes of heteronormalization and national redefinition. In the first chapter of this thesis, the broad contours of late Ottoman kanto culture are outlined, with kanto performers and their audiences analyzed according to categories of class, gender, ethnicity and age. Kanto singers, predominantly Greek and Armenian women, were both conscious of their own identities and yet also quintessentially Ottoman in their performative styles and stage characters. In the second chapter, kanto is examined as the final cultural product of a long process of Ottoman heteronormalization, which is traced through the evolution of Ottoman erotic dance. In the last chapter, the effects of nationalist and orientalist discourse on the representations of ethnic types in kanto theatre are discussed, with a particular focus on depictions of Roma and Iranians. Ultimately, this thesis aims to offer a comprehensive understanding of how kanto culture was intertwined with the cosmopolitan character of late Ottoman urban social life. This connection would make the performance of early kanto increasingly untenable in the era of nationalist Turkish Republic, despite several attempts at adaptation and revival. iv ÖZET ŞARKI VE SAHNE, CİNSİYET VE MİLLET: GEÇ OSMANLI DÖNEMİNDE İSTANBUL’DA KANTONUN ORTAYA ÇIKMASI Erik Blackthorne-O’Barr Yüksek Lisans Tezi, Mayıs 2018 Tez Danışmanı: Prof. Dr. Leyla Neyzi Anahtar Kelimeleri: Osmanlı, Cinsiyet, Mizah, Dans, Müzik, Tiyatro, İstanbul Bu tez, 1880’lerin başında İstanbul’da gelişen, taşlamalı sözler, mizahi şarkılar, ve erotik danslar ile karakterize edilmiş Türkçe bir müzikal tiyatro ve dans türü olan “kanto” üzerine yoğunlaşmaktadır. Çalışma bilhassa, II. Abdülhamit döneminde (1876-1909) sıklıkla rastlanan sosyal, siyasal ve erotik temalı kanto müzikallerine odaklanmaktadır. Daha önce yapılan çalışmaların aksine bu çalışmada kanto, batılı kabare tiyatrosunun Osmanlı zevklerine adapte edilmiş bir uyarlaması olarak ele alınmamaktadır. Bilakis, kantonun çok dilli, çok kültürlü kozmopolit Osmanlı dünyasını doğrudan yansıtan, orjinal bir forma sahip, genç-şehirli alt kültür gruplarına hitap eden bir tür olarak geliştiğini ortaya koymayı amaçlamaktadır. Dahası, çalışma kantoyu, zengin, Osmanlı hiciv geleneğine dahil etmekte, hetero-normalizasyon ve uluslaşma sürecinin tesiri altında geliştiğini öne sürmektedir. Tezin birinci bölümünde, kantonun kültürel sınırları genişçe çizilmekte, kanto sanatçıları ve seyircileri, sınıf, cinsiyet, yaş ve etnik köken kategorilerine göre analiz edilmektedir. Mesela, çoğunlukla Rum ve Ermeni kadınlardan oluşan kanto şarkıcıları, hem kendi etnik kimliklerinin bilincinde, hem de oyun tarzları, sahne performansları ile özlerinde Osmanlıydılar. İkinci bölümde kanto, erotik içerikli Osmanlı raksının tekamülü ile seyreden uzun soluklu bir hetero-normalizasyon sürecinin kültürel sonucu olarak ele alınmaktadır. Son bölümde ise milliyetçi ve oryantalist söylemin kanto tiyatrosundaki etnik tiplemeler, özellikle Çingene (Roman) ve Acem (İranlı) betimlemeler, üzerindeki etkileri tartışılmıştır. Nihayet bu çalışma, kanto kültürünün, son dönem Osmanlı toplumunda sosyal kent hayatının kozmopolit karakteri ile nasıl iç içe geçtiğine dair kapsamlı bir analiz sunmayı hedeflemektedir. Nitekim, tüm intibak ve ihya girişimlerine rağmen kanto kültürü, milli bir devlet olan Türkiye Cumhuriyeti’nde giderek önemini yitirmiştir. v ACKNOWLEDGMENTS This thesis would not exist without the kind and generous support of so many others, all of whom have guided me and helped me at every step of my research. In the first place, I would like to extend my sincere gratitude to all of my mentors, teachers and friends at Sabancı University, who have all made my time in Istanbul truly special. In particular, I would like to thank my thesis advisor, Professor Leyla Neyzi, who has encouraged and supported me throughout my time at Sabancı, from near and afar. I would further like to thank the members of my thesis jury, Professors Hülya Adak and Arzu Öztürkmen, for their suggestions, comments, and patient readings of this thesis in its rougher stages, as well as Professors Tülay Artan and Yusuf Hakan Erdem, who have been invaluable sources of support and guidance during my two years at Sabancı. I would have also been truly lost without the aid of numerous others in Istanbul, such as Gökhan Akçura, Mehmet Kuru, Burhan Çağlar, and Sevim Yılmaz Önder, who have all in different ways contributed to this thesis with their generosity, kindness, and academic advice. I am extremely grateful for all of your support. Beyond this, I would like to thank those at the University of Toronto who first guided me along this path and encouraged me to pursue it: Professors Milena Methodieva, Victor Ostapchuk, and James Reilly, to whom I, in many ways, owe my time in Turkey and the wonderful experiences I have had. Thank you for inspiring me and supporting me throughout the course of this journey. I am grateful for the love and care of my family and friends, who have always been there for me whenever I needed their help, and for the purrs and meows of Namakfelfeli, the sweetest cat in all of Turkey. Finally, I would like to thank my wife and the love of my life, Sharon Mizbani, for her endless kindness, good humour, friendship, support and encouragement. Without her, none of this would have been possible. vi TABLE OF CONTENTS 1. INTRODUCTION...............................................................................................................1 1.1 The Life and Death of Kanto.................................................................................1 1.2. Kanto Sources.....................................................................................................11 2. KANTO DURING THE REIGN OF ABDÜLHAMİD II..................................................16 2.1. Song and Stage: The Morphology of Kanto Performance.................................19 2.2. Dramatis Personae: Kantocus and Their Audience............................................27 2.3. Sex and the City: Kanto Lyrics as Urban Theatre..............................................55 3. KANTO AND THE EMERGENCE OF OTTOMAN HETERONORMATIVITY....................................................................................................67 3.1. From Çengi to Kantocu: The History of Erotic Dance in Ottoman Culture......76 4: NATIONALISM AND EROTICISM IN THE HAMIDIAN-ERA THEATRE...........................................................................................................................108 4.1. Ethnic Types in Kanto Performance: Çingene Kantosu...................................122 4.2. Ethnic Types in Kanto Performance: Acem Kantosu........................................130 4.3. Ethnic Types in Kanto Performance: Other Ethnic Types................................136 5. CONCLUSION..............................................................................................................140 vii BIBLIOGRAPHY................................................................................................................150 ILLUSTRATIONS..............................................................................................................169 viii 1. INTRODUCTION 1.1. The Life and Death of Kanto When Peruz Terzakyan retired from the stage in 1912, at the age of 47, her place in the history of the Turkish-language theatre must have seemed assured. She was renowned throughout Istanbul, known popularly as Afet-i Devran: “The World’s Beauty.” She possessed a broad audience that spanned from the lowest underclasses of the city to the daughters and sons of sultans and pashas; writers from Ahmet Rasim to Ahmet Mithat Efendi had described her in their novels,1 and her profile was well-known enough to be the subject of caricatures in the popular press (See Figures 3, 4).2 She was carried in a sedan chair by adoring fans and wore expensive jewels given to her by wealthy lovers and admirers;3 for a night of performance, she earned eight gold mecidiyes,4 over one hundred times the average wage at the time,5 and during Ramazan this could go up to sixty
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